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With light field technology, there is a huge opportunity for creativity in photography that hasn't been available in the past.

There's something about light field photography that's just magical.

For low light, all the light rays participate. We're using all the light coming through a large aperture to make a picture with a large depth of field - totally impossible with a conventional camera.

We're really interested in more visual storytelling, figuring out a way to blend our level of observation with a bigger visual scope.

Light-field photography is a transformational technology that needs a transformational product to introduce it. For the first time, we have a light-field camera that's going to be for everyone - not something in a huge room in a research facility.

Light field photography unleashes the power of the light, to forever change how everyone takes and experiences pictures.

We have all the light we need, we just need to put it in practice.

The more tools we have directors and cinematographers will be able to express more and create different worlds and feelings. It's like having more instruments in an orchestra.

The first light-field camera array I saw at Stanford had a bunch of applications, like to do special effects like you see in 'The Matrix,' where you spin the camera around in frozen motion. It took up an entire room.

Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.